由達利歐·阿基多的母親三部曲分析鉛黃電影中的厭女情節及母女關係

Abstract

鉛黃(Giallo)電影是 20 世紀 60 年代末和 70 年代初起源於義大利的驚悚片和恐怖片的一個子類型，因其風格化的暴力、神秘和性別主題處理而受到關注。 鉛黃(Giallo)電影經常將女性描繪成受害者或慾望的對象，延續有害的刻板印象並助長厭女文化。女性常被透過偷窺鏡頭來描繪，成為觀眾凝視的慾望對象。這種方法助長了這樣一種觀念：女性的存在主要是為了男性的快樂和消費。然而，本研究將以達利歐·阿基多的「母親三部曲」（包括《陰風陣陣》（1977）、《地獄》（1980）和《淚之母親》（2007））為案例研究，探討女性細緻入微的刻畫。透過女性主義的視角，本文分析了「母親三部曲」如何顛覆傳統的性別角色，並呈現女性賦權且複雜的角色。特別是，母性概念作為一個中心主題出現，將母親描繪成無所不在的主導和影響所有角色的強大人物，並在女兒和她自己之間產生強烈的矛盾感。這種描繪挑戰了將婦女視為被動受害者的傳統觀念，並強調了她們的能動性和韌性。透過批判性地研究這些電影，本研究突顯了電影的多面性，承認其存在問題的因素，例如物化和暴力侵害婦女行為，以及其顛覆女性主義和賦權的潛力。透過仔細的文本分析和對社會文化背景的考慮，本研究旨在有助於理解鉛黃(Giallo)電影中的性別代表性及其對更廣泛的女性主義話語的影響。Giallo cinema, a subgenre of thriller and horror films originating from Italy in the late 1960s and early 1970s, has garnered attention for its stylized violence, mystery, and thematic treatment of gender. Giallo films often depict women as victims or objects of desire, perpetuating harmful stereotypes and contributing to a culture of misogyny. Women are often pictured through a voyeuristic lens, functioning as objects of desire for the viewer's gaze. This approach fosters the idea that women exist mainly for the pleasure and consumption of males. However, this research will focus on Dario Argento's "Mother Trilogy" (comprising Suspiria (1977), Inferno (1980), and Mother of Tears (2007)) as a case study to explore the nuanced portrayal of female characters and the role of motherhood. Through a feminist lens, this analysis examines how the "Mother Trilogy" subverts traditional gender roles and presents women in empowered and complex roles. Particularly, the concept of motherhood emerges as a central theme, portraying mothers as powerful figures who omnipresently dominated and influenced all the characters and held a strong sense of contradiction between the daughter and herself. This portrayal challenges conventional representations of women as passive victims and emphasizes their agency and resilience. By critically engaging with these films, this study highlights the multifaceted nature of Giallo cinema, acknowledging both its problematic elements, such as objectification and violence against women, and its potential for feminist subversion and empowerment. Through close textual analysis and consideration of the sociocultural context, this research aims to contribute to the understanding of gender representation in Giallo cinema and its implications for broader feminist discourse.